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About DanielBenton

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  1. Balanchine non finito

    Thank you Jack! I imagine Mr. B. would have enjoyed seeing dance his ballets with a new slant that he had not en visioned but liked. Examples: Elisabeth Platel dancing Ravel Sonatine; Olga Smirnova (from several years ago) dancing the pas de deux from Diamonds.
  2. Peter Martins Sexual Harassment Allegations

    There are law firms that specialize in representing employers, and there are law firms that specialize in representing employees. They rarely do both. Kelley Drye is the former.
  3. ballet_n00b thanks for pointing me to Beatrice Rana.
  4. I credit the New Yorker profile with bringing her to my attention; highly amused and not surprised by Janet Malcolm's fixation on Wang's clothing choices. As Mr.B. is said to have said, if you don't like what you see, just close your eyes and listen.
  5. Wang's Chopin is especially interesting. Here is what may have been her graduation recital from Curtis, and she has gotten better since then. Possibly because she is part of the Curtis Lineage (Graffman/Hoffman/Godowsky) she plays with the sensibility of one of those old-timers, and without musical distortion.
  6. There is a new generation of women classical pianists who are phenomenal, chief among them Yuja Wang. Also, Alice Sara Ott and Khatia Buniatishvili. Wang is the rare artist who illuminates the composer's score and has a very personalized interpretation at the same time.
  7. Balanchine's Birthday celebration 2018?

    Typically they do programs on the Saturday closest to his birthday, but this year the season does not start until after his birthday, which is unusual.
  8. Robert Gottlieb on Jewels

    Kudos to canbelto for actually discussing details of the performances s/he witnessed; I contrast that with Gottlieb's "I wanted to swat her". What is that, except some personal petulance unleashed.
  9. Robert Gottlieb on Jewels

    So if one is to wholeheartedly endorse Gottlieb's opinions on Jewels, what does that say about Acocella's New Yorker review, which has other emphases entirely. If Gottlieb damns the POB for their "narcissistic self-presentation", does that mean Acocella totally misses the point by not damning them? Did they see the same performances. It hardly seems so.
  10. Robert Gottlieb on Jewels

    The problem with a lot of writers on ballet, e.g., Gottlieb, is that their review tells us what they think is terrible and what they think is swell and very little about the actual performance. His opinions about aspects being the worst he has ever seen, etc., is not relevant nor helpful.
  11. Peter Martins Sexual Harassment Allegations

    Seems so odd that a company can require binding arbitration for what are criminal acts
  12. Jennifer Homans' planned biography of Balanchine

    I agree with canbelto. Taken together, the memoirs of Kent, Villella, D'Amboise et al. provide a more interesting picture than the current biographies.
  13. "Where are the Women in Ballet?"

    Lauren Lovette with "Not Our Fate" has made Ratmansky's point somewhat moot. As George Balanchine says in Solomon Volkov's Balanchine's Tchaikovsky, "The feeling is important, not the object".
  14. If memory serves (?) I think Merrill Ashley coached the Bolshoi in Diamonds a few years ago, and Karin von Aroldingen is still an active coach. In coaching music, a good teacher is able, while remaining true to the essence of a piece, to dissociate themselves from the way they learned a piece and thus have a fresh perspective when listening to students perform. Bolshoi, Mariinsky, Paris Opera and NYCB are so different in their training and presentation, and thus it would be fascinating to get their views. Balanchine (like Beethoven, Bach, or Shakespeare), has a universal message such that his compositions can be presented in these really different traditions.
  15. It would be interesting to know what the original generation of dancers (I am thinking of Allegra Kent, Karin von Aroldingen, Jacques d'Amboise etc.) who may have seen this summer's performances thought about it. Their thoughts on how Balanchine's works are being passed down and out of New York City to other companies would be most welcome.